The final installment of this series dwells on “future,” likely the least considered time frame when thinking of black history. Afrofuturism is a term that has grown in public awareness, mostly used in arts and academic circles, and centers on this very idea.

Afrofuturism is a bit of a complex concept, but it’s explained well in an episode of This American Life. One of the hosts, Neil Drumming, says: “What I like about Afrofuturism, it just seems very—it’s like this way of talking about black people in a way that’s really hopeful.” Ira Glass follows up later, saying, “[a]nd for so long, in so many imaginings of the future, in so much science fiction, there were no black people at all—which, as Neil points out, makes no sense. He says, you can tell black people are going to make it into the future because they’ve survived so much already over the centuries.” It’s a way of thinking about the future that takes into account the lived history of black people while also being creative and positive about what’s to come. These themes can be seen in pop culture in blockbuster movies like Black Panther and the work of musicians like Janelle Monae, whose albums often feature characters and narratives set in futuristic, spacey worlds.

This is the definition I will be using for the sake of this reflection—Afrofuturism as a hopeful, imaginative way of thinking about the future for black people. It’s an approach that is not only important for changing the way we as non-black people can think about black futures, but it also challenges us as the church to change how we think about our own future.

Tracy K. Smith is a poet whose work is thoroughly imbued with this imaginative, galaxy-strewn setting. Both poems I’ve included here explore human themes in universal language. In “The Universe is a House Party,” she says:

“We grind lenses to an impossible strength,

Point them toward the future, and dream of beings

We’ll welcome with indefatigable hospitality:

How marvelous you’ve come! We won’t flinch

At the pinprick mouths, the nubbin limbs. We’ll rise,

Gracile, robust. Mi casa es su casa. Never more sincere.

Seeing us, they’ll know exactly what we mean.

Of course, it’s ours. If it’s anyone’s, it’s ours.”

In this poem, she paints a future in which we are of course hospitable to aliens, to those who come from far reaches of the universe, and we are sincere in our welcome of these other beings. In describing this scene, she reveals the stark contrast to today, in which we find it difficult to welcome other humans with distinct differences from our own communities. She imagines a brilliant future in which we aren’t burdened by prejudice and hate, and it challenges us to do the work now so we can reach that starry future.

She is not deluded in this fantastical future—she tells of incredibly strong telescopes built for no other reason than a deep human curiosity of what is out there. Maybe from here, we can get to a place of equally deep hospitality.

Tracy K. Smith said at an event, “Imagining, for me, is an act that allows for a different kind of engaging with things.” As we look toward the future of the Church of the Brethren, we must accept the challenge to engage with issues differently, creatively, and imaginatively.

Smith said in an interview about one of the poems in her book, Life on Mars, “Part of what I’ve been trying to ask myself to do is think, OK, we belong to the history of the centuries that we span, but we’re also part of something enormous. What if we think about our actions as having some bearing upon the history of eternity? What would we change if those were the stakes that we were cognizant of?”

This is the way the church needs to think about our future. We need to be cognizant of the stakes—if there’s anything that our faith tells us, is that our actions have bearing on the history of eternity. We need to take our commitment to racial justice, to true hospitality, to telling black stories, to lamenting our broken past, very seriously, because there are high stakes.

Clint Smith’s poem, “what the cathedral said to the black boy,” stands as a goal for the church in the future. The cathedral that he describes is, unfortunately, not what our church has always been for people of color. We want to be a refuge, but we must recognize the ways we have at times caused pain instead. His words should be a call to action for us all: “ain’t we all just trying to be / some type of sanctuary for someone? for every year we are not destroyed / do they not remind us what a miracle / it is to have lasted this long?” As the church, it should be our primary goal to be “some type of sanctuary” for populations that have long been targeted and oppressed.

What are our congregations not saying to the black boy, and how can we better say to them:

If you haven’t read the first post in this series, please read it here first.

“For if you remain silent at this time, relief and deliverance for the Jews will arise from another place, but you and your father’s family will perish. And who knows but that you have come to your royal position for such a time as this?” (Esther 4:14)

Both Clint Smith’s and Mahogany Browne’s poems begin with “today.” They immediately place us in the current day, the present, such as the start of a news story that has just occurred. Whether they actually happened today or not, the situations described in each poem still circle around us daily, asking what we as a church can do for justice in this very moment.

For Smith:

“Today, a black man who was once a black boy

like you got down on one of his knees & laid

his helmet on the grass as this country sang

its ode to the promise it never kept”

For Browne:

“today i am a black woman in america

& i am singing a melody ridden lullaby…”

They were written two years apart but, in many ways, coexist in the same space. Smith is thinking about what it means to be a father raising a black child today, and yet, the question of tomorrow is factored into each thought. He says about this poem: “This is part of a series of poems […] thinking through what it means to watch my son discover the world for the first time [and] what it means to watch the world discover him. How [people] who call him adorable now might very well call him dangerous when he’s older.”

Smith spoke at a performance in 2016 about how, when he was in college, he was looking for “work that spoke to the urgency of now,” and how he found this in spoken word poetry. Now as a poet himself, his work definitely speaks to the urgency of now. In “Your National Anthem,” which acts as a letter to his very young son, Smith speaks to this in his reference to Colin Kaepernick’s protest while also speaking to the impending future that presses on his mind as a father.

“I know that you will not always

be a black boy but one day you may be a black man

& you may decide your country hasn’t kept

its promise to you either”

In “litany,” Browne is reflecting on what it looks like to live as “a brown and black & / bew woman dreaming of freedom.” She says, “today, i am a mother, & my country is burning/ and i forget how to flee.” Browne wrote this poem as a response to “I Wish I Knew How It Would Feel to Be Free,” as sung by Nina Simone.

“I sat with what that meant, years later—when I am still wishing for a certain type of freedom. To think of the time passing but of senseless deaths of black and brown bodies remaining. The poem is mulling all that has changed and all that has not,” Browne says of her work.

This is truly what it means to reflect on the present, today, the current state in which we live. All that has changed and all that has not. The urgency of now.

Today’s movements for racial justice and equity are not separate from the civil rights and abolition movements of the past that we now honor. Yes, today’s movements are tied to politics, but, most fundamentally, they are made up of everyday people who are yearning for freedom, for safety for their children, for trust that their country values their lives.

The 1991 Report of the Committee on Brethren and Black Americans says: “Because racism is built into our way of life, it is extremely difficult to unmask it and honestly face the radical changes that need to be made in ourselves and our institutions if it is to be eradicated. […] Many of us benefit from racist practices, without being direct participants, because of decisions and policies already in place in our religious, economic, and political institutions. The Church of the Brethren has affirmed that war is sin. It is time we acknowledged racism as sin—sin against God and against our neighbors—and mount a concerted effort to combat it.”

What does it mean for the church to speak to the urgency of now, keeping in mind what has and has not changed in all these years?

I don’t have an easy answer, but I do know that if we pat ourselves on the back for holding up lauded figures in black history such as Martin Luther King, Jr. and Harriet Tubman, perhaps we should also ask about lesser-known black history that is being written as we speak and what we can do to add our voices to the call for justice in this very moment.

This is not about simply remembering heroes of the past or imagining some potential day in the future that calls us to action. This is about looking at the world around us and asking ourselves how we can support our brothers and sisters—who right now are afraid for their families, yearning for freedom, and demanding justice—in such a time as this.